From: a brazilian art history
This article traces a brief history of cultural anthropophagy and its developments in Brazilian art, understanding it as a possible mode of artistic production that anticipates and affirms global contemporary practices. It would therefore be an ‘export product’ from Brazil to the world, as envisione...
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| Format: | Online |
| Language: | Portuguese |
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Universidade Estadual de Campinas
2021
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| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/16559 |
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| Summary: | This article traces a brief history of cultural anthropophagy and its developments in Brazilian art, understanding it as a possible mode of artistic production that anticipates and affirms global contemporary practices. It would therefore be an ‘export product’ from Brazil to the world, as envisioned by Oswald de Andrade in the Pau-Brasil Poetry Manifesto (1924), something reinforced in the Neoconcret and Tropicalist movements of the 1960’s and 70’s and in the 24th São Paulo Arts Biennale in 1998. Within the complexities of the formulation of a Brazilian national identity we also present the more recent idea of ‘dogs without feathers’ from Moacir dos Anjos, a less ‘solar’ facet of Brazilianness, giving way to the marginalized which Hélio Oiticica had already brought to the artistic scenario within his ethical position regarding Brazilian society in general. |
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| ISSN: | 2175-6015 |
